Category: Technology

The following article contains spoilers for earlier Star Trek properties but doesn’t reveal specific spoilers about Star Trek: Picard season three, not that you should be watching it anyway.

It’s 2034 and Warner Bros. decides it needs to wring more cash out of Friends, the decade defining cultural juggernaut and sitcom behemoth. Imagine what that show would be like; A warm and cozy three-decades-later check-in on characters you know intimately well. After all, you probably spent your formative years watching them mature from young single New Yorkers to a series of families. Maybe it’ll tickle those nostalgia glands, reminding you of when you watched the show with your own family as a kid.

Unfortunately, the hotshot creator of the age decided they want to go in a different direction this time. This needs to be a dark and gritty miserycore grief orgy that better reflects our more rough-and-tumble times. After all, TV these days can’t be gentle or comforting, offer escapism or posit a better world, not since Trump, Brexit, Bolonosaro, January 6th and Ukraine. The creative team have got that quote on a poster in their office, the one about thetriumph of evil, and they’re not going to sit idly by, they’re taking a stand.

In the sequel, Rachel’s famous for her wellness TikTok that often makes allusions to “reclaiming” the US as a white ethnostate. Joey lost an arm while filming a movie and is now in prison after a failed heist to pay off his life-ruining medical debt. Monica’s got a crippling adderall addiction and slips away most nights to murder the neighborhood cats and dogs. Everything’s shot in ultra gloomy vision, and there’s no laugh track, jokes or a studio audience, just unrelenting misery.

This revival is dense with references to the Friends backstory as well as the broader Friends universe. Remember that Lisa Kudrow played Phoebe’s twin sister Ursula on Mad About You, right? If not, you better get yourself to Wikipedia to study up. I mean, it won’t be relevant to the plot, but it’s something you remember, so clap, go on, clap.

You might be wondering why such a project would be allowed to happen, given that it wouldn’t be fun for fans of the original series. Times change, characters age, but you can’t turn a cozy sitcom into Breaking Bad overnight and expect that to be satisfying. You’d hardly think it’d be a big pull for newbie viewers either, who’d probably steer clear if they weren’t already familiar with 236 episodes of intricate backstory. Nostalgia revivals don’t need to be slavish to their source material, but it’s hard to see the appeal for something so grim and unpleasant.

Apropos of nothing, let’s talk about the third and final season of Star Trek: Picard.

Season three was sold as something of a course correction for Picard after its first two deeply unpopular runs. It ditched all but Raffi from the roster of original characters created for it, and instead pulled in the stars from Star Trek: The Next Generation. As well as the returning Jonathan Frakes, Marina Sirtis and Brent Spiner, we’ll see LeVar Burton, Gates McFadden and Michael Dorn back in action. And, in the six of ten episodes I’ve been permitted to watch under strict embargo, I’d say only one of them feels like the character we know and love.

Unfortunately, while we have the other TNG stars, the creative team of Executive Producer Alex Kurtzman and showrunner Terry Matalas didn’t bother to grab any of that show’s lightness of tone. Picard remains a grimdark slog, shot on perpetually underlit sets and featuring a succession of increasingly-bleak setpieces. The plot is stretched so thin that the first four episodes turn out to be little more than an extended prologue for the rest. A prologue that could, I should add, have been an efficient, and possibly more enjoyable, hour. The story is so obvious, too, that you’ll be ahead of the characters pretty much non-stop as they stumble from one idiot plot to the next.

It’s maddening that we can see how much of the plot is blocking itself to ensure things can’t move forward too quickly. There’s a whole episode of gosh-isn’t-this-tense tension that could have been eliminated if anyone in Starfleet pulled out a tricorder and used it as God intended. In this utopian future, where science and technology really are advanced enough to look like magic, why does nobody employ the tools hanging from their waistband? Mostly because Paramount ordered ten episodes, and ten episodes is what we’re going to give them. Another episode has a time-filling punch fight runaround because it’s now somehow impossible for a serving officer to use a Federation ship’s intercom system to call the bridge and warn them of impending danger.

Picard is one of those series where you often find yourself shouting at the screen as the next stupid moment unfolds in front of you. Even worse is that the show’s creative team seem to think that it’s us, the audience, who are deficient in the thinking department. There is scene after scene in which characters repeat the same lines back to each other because the crew assume we’re not paying attention. Because of the limits on spoilers, I’ve re-written a scene to match the sentiment, if not the words verbatim, so you can get a sense of what to expect:

CREW 1: The ship is being pulled closer to the black hole’s gravity well.

CREW 2: We do not have enough power to pull ourselves away, sir.

RIKER: Are you saying that we’re dead in the water?

CREW 1: We will be passing the black hole’s event horizon in 17 minutes.

RIKER: We’re dead in the water and we’re sinking.

PICARD: We’re going to be dead in 17 minutes, Will, unless we can find a way to solve this.

RIKER: We’re sinking into quicksand, and there’s no time to grab a helping hand.

The irony is that this run is so thicket-dense with references that the show basically assumes that you’ve already seen pretty much everything produced during Trek’s gold, silver and bronze ages. But, to make sure nobody’s left behind, everyone has to speak in exposition so hamfisted that, now that this is over, I think Michelle Hurd deserves personal injury compensation. Raffi gets saddled with so many cringe-inducing lines where she states, and restates and re-restates the obvious that I started grasping fistfuls of my own hair to relieve some of my discomfort.

And as for the storyline, what can I say? It’s clear that Alex Kurtzman is only comfortable writing in a single register. His go-to is usually a militaristic, testosterone-fuelled paranoid Reaganite fantasy in which the real villain was our own government all along. He did it in Into Darkness, Discovery season two and even the first season of Picard – to the point where Starfleet is now so lousy with double agents that all of their schemes fail because the saboteurs are all too busy sabotaging each other’s plans instead of that of the wider Federation.

If Picard is nothing else, it’s nearly pornographic in its use and misuse of franchise iconography. I always felt that Jeff Russo’s Picard theme sounded more like the library music for a corporate advert than the makes-your-heart-soar theme a Star Trek deserves. And here, it’s been ditched in favor of Jerry Goldsmith’s sumptuous, nectar-for-the-ears score for First Contact. The first title card is a direct pull from Wrath of Khan, and pretty much every element therein is an elbow to the ribs, reminding you of older, better Star Trek movies and TV series.

An early scene has a character “hijacking a starship” under false pretenses while it’s in spacedock. You know, the mushroom-shaped megastation orbiting Earth from The Search for Spock onwards. And because we’re already going beat-for-beat for a sequence xeroxed from 1984, said starship even jumps to warp as soon as it’s past the exit doors. Despite the fact that the sort of hardcore Trek fans who would spot the reference would also note that you’re not meant to jump to warp while inside a solar system when there’s no urgent need to do so.

I’ll admit, this is postgraduate degree-level Star Trek nerdery, but you can’t have it both ways: If you’re trying to placate hostile viewers with the excessive fan service, you can’t then complain when they point out that you’re doing it all wrong.

The show’s teaser trailer already revealed we’re getting an overstuffed roster of villains to round out the run. Amanda Plummer’s captain of an enemy ship that shares a design with the Narada from Star Trek ‘09. Then there’s Daniel Davis’ holographic Professor Moriarty, as well as Data’s evil twin brother Lore. Both of these sorta make sense in the context, but there’s a hell of a lot of narrative scaffolding to explain away the fact that Brent Spiner is now 74 years old. (The dude looks good for it, but it’s hard to play an ageless android when time marches on and the de-aging CGI budget is spent on smoothing out Patrick Stewart’s face for a single flashback and the pointless needle-drops that open every episode.)

Now, before you scurry off to Memory Alpha to confirm that Moriartywas locked away in a holobox at the end of “Ship in a Bottle,” and Lorewas disassembled at the end of “Descent Part 2,” yes, they were. Try to remember that showrunner Terry Matalas and executive producer Alex Kurtzman treat Star Trek’s continuity less as something which informs storytelling and more as a series of shiny objects to keep us all amused when the plot sags or anyone has any time to think about what’s going on.

I’ll also add that the trailers and promotional material have very intentionally kept a lot of material back. There are more classic-era heroes and villains crowbarring their way into the story in the way that, if it were fanfiction, would seem excessive. But, if I’m honest, the second or third time someone, or something, familiar popped up, I wasn’t whooping and cheering, I was sighing. The Star Trek universe is vast and broad and deep, but Picard makes it feel like a puddle where everyone knows each other, and everyone under the age of 30 has grown up watching The Next Generation. If you’re serving in the US Navy, for instance, how likely is it that you’d know the ins and outs of every exploit of even the most well-traveled combat vessel?

Now, I don’t have the language or experience to discuss this properly, and I’m aware of others who do feel differently. This is just my opinion, but I think the depiction of drug and alcohol use in Picard has always felt off. And since I can’t talk about the third season, I’ll talk about the first, where something very similar happened and is just as vexing here as it was back then. Raffi deals with her son’s rejection by relapsing, but then mere hours later, she’s back at her station and advancing the plot. I don’t recall a sense that her use clouded her judgment and I don’t think it was discussed subsequently – so despite the portentiousness in the build-up, it was depicted almost like someone just having a bad day and knocking back some drinks. I’m not saying that’s a bad thing, because there are plenty of people who use drugs and it doesn’t impact their professional lives at all. (Read any Making-Of book about The Original Series and you’ll notice how more than a few references to the production team’s drug use.) But if you’re going to write a plot where scenes hang on the will-she-or-won’t-she tension of relapse, but it all turns out to be hunky dory straight after, what was the point of depicting any of this in the first place?

Then there’s the violence, and the casual way that it’s doled out, especially in the show’s numerous interrogation scenes. I’m not advocating for forced confessions, but given Starfleet’s advanced science, and the Federation has a planet of literal telepaths at its disposal, why are we always punching people in the nose with a butt of a phaser pistol? I mean, I know why: It’s a nerdy sci-fi show play acting as a muscular basic-cable drama, but that doesn’t mean it works. I’ve often theorized that many modern-day Star Trek creators would much rather be over the hall making their own Star War instead. Maybe I’m wrong, and the Picard crew is really nostalgic for the hamfisted Bush-era politics of 24.

It was always going to be hard to pull Picard out of its creative slump that started back when the show was greenlit. If there was ever a character who we’d seen grow, change, mature and treat his own life with more kindness, it was Jean-Luc Picard. Some of TNG’s best episodes forced Picard to consider his own life, his history, his mortality, his motives, including the series’ grand finale. “All Good Things” isn’t just good Star Trek, it’s one of the best series finales ever made, encompassing the entire breadth and depth of The Next Generation in one glorious sweep. And between seven years of TV and four less essential but still important movies, he was done.

I wrote somewhere, I forget where, that a smarter idea would have been to center the action on a less-well served member of the Enterprise D crew. I’d have been second in line to watch a Geordi LaForge spin-off (behind uber fan Rihanna, of course), and there’s plenty to explore there. Or a Beverley Crusher spin-off, as she solves people’s problems as a simple country space doctor back on Earth or on some far-flung planet. Maybe a sci-fi version of In Treatment fronted by Marina Sirtis could have worked, and would have certainly cost less than this.

All of which would be preferable to what we got, which despite initially having a Pulitzer Prize-winning novelist at the helm, was two years of go-nowhere, do-nothing bore-a-thons. Its brief moments of cleverness drowned out by the baffling character decisions, tin-eared dialog and ligneous acting. And both had plots which would have struggled to fill a movie stretched out across a painfully slow ten hour runtime.

And that’s before we get to the moralizing, which had characters pointing at a bad thing and saying “thing bad.” I don’t think the second season’s 26 percent rating on Rotten Tomatoes is because the (inexplicably) conservative wing of Trek fandom was outraged that a show about happy space communists solving problems while remaining friends suddenly “got woke.” Good, old-fashioned Star Trek at least had the good grace to cloak its progressivism in allegory that could slide past the otherwise closed minds of some of its viewers. By comparison, Picard felt like the first draft of a high school theater production made the term after the teacher had explained agitprop.

Maybe that’s why I feel so annoyed by Picard, because all of the things that are wrong with the show, and its kin, are examples of amateurishness. Amateurish plotting, amateurish dialogue, a lack of thoughtfulness about the material, what it says, or what it’s doing. Just an endless parade of big, dumb, brash, po-faced melodrama used in place of some sort of maturity or integrity. I don’t expect Star Trek to be brilliant all the damn time, but I do expect a minimum standard of something to be upheld. And this falls so far below it, it’s hard to call it Star Trek. Some people will call that gatekeeping, but Star Trek can be anything it damn well wants to be, so long as it’s competently made and halfway entertaining. 

The constant callbacks got me thinking about the period when Nicholas Meyer was, directly or indirectly, the major creative force behind Star Trek. It’s been 32 years since his 1991 swansong, The Undiscovered Country, and it remains a high-water mark of cinematic Trek. Drawing to a close the story of The Original Series crew, Meyer didn’t go for nostalgia, but savaged his characters, exposing their flaws, their bigotries, their failings. There was redemption, and heart, and it never needed Meyer to stage endless close-quarters phaser-fu fights in unlight rooms.

But that was a filmmaker with a clear vision, and the good graces to really drag his characters in the dirt before washing them clean. Imagine what would happen if Picard encountered any of the same level of subtext – they’d probably spend an hour running from it before beating it over the head with the butt of a phaser rifle and then spend the next hour feeling glum about it. If nothing else, I’d say don’t even watch Picard for ironic kicks, lest Paramount think it’s somehow a runaway hit and continue to produce crap like this.

 

A Reddit employee’s credentials were stolen in a targeted phishing attack, an administrator for the website has revealed, and hackers were able to infiltrate its systems on February 5th. Apparently, Reddit employees had been receiving “plausible-sounding prompts,” which lead to a website that mimic the looks and behavior of its intranet gateway, designed as such to steal people’s logins and second-factor tokens. While one employee did fall for the scheme, they immediately self-reported. That allowed the website’s security team to respond quickly and to cut off the infiltrators’ access.

The Reddit spokesperson said the bad actors were able to access some of the website’s “internal docs, code, as well as some internal dashboards and business systems.” Contact information for hundreds of company contracts, current and former employees, as well as some advertisers were also exposed. They assured users, however, that the security team investigating the incident has found no evidence that their passwords or any of their non-public data have been compromised. The team also didn’t find evidence that the information stolen from Reddit has been distributed online — at least, at this point in the investigation. 

Reddit’s spokesperson said the website is “continuing to investigate and monitor the situation closely.” They also said that lessons they learned from a security breach five years ago continue to be useful. If the attackers were only truly able to steal some non-user information this time, the 2018 breach was a much more serious incident. Back then, bad actors were able to grab users’ current email addresses, as well as a database backup from 2007 that contained account passwords.

 

Twitter is making millions of dollars from just a handful of some of its most infamous users, according to a new report. New research from the Center for Countering Digital Hate (CCDH) estimates that Twitter “will generate up to $19 million a year in advertising revenue” from just 10 accounts that were once banned from the platform.

The report looked at the current engagement with 10 accounts that were previously banned for “ for “publishing hateful content and dangerous conspiracies.” The accounts were reinstated after Elon Musk’s takeover of Twitter. The group includes a number of high-profile accounts associated with extremism and conspiracy theories, including those belonging to influencer Andrew Tate, Daily Stormer founder Andrew Anglin, prominent antivaxxer Robert Malone and the Gateway Pundit.

In order to estimate their reach and engagement, CCDH analyzed nearly 10,000 tweets from these accounts during a 47-day period in December and January. According to their analysis, “on an average day, tweets from the ten accounts received a combined total of 54 million impressions,” they write. “Projecting this average across 365 days, the accounts can be expected to reach nearly 20 billion impressions over the course of a year.”

In order to determine how much ad revenue those impressions might generate for Twitter, CCDH says it created three new Twitter accounts that followed only the 10 users named in the report. The authors found that ads appeared about once every 6.7 tweets. Then, using data from analytics firm Brandwatch, which estimates that “Twitter ads cost an average of $6.46 per 1,000 impressions,” CCDH came up with “a total figure of up to $19 million in estimated annual ad revenues across the accounts.”

While the estimates aren’t a precise accounting of how much Twitter might be making from these users, it demonstrates how valuable a small number of highly polarizing accounts can be for the platform. It also underscores how much more Twitter stands to gain by bringing back even more controversial users.

All of the accounts named in the report were once permanently banned from twitter, but were reinstated after Musk said he would offer “general amnesty” to users who hadn’t broken the law. Twitter also recently announced plans to allow even more previously banned users to appeal their suspensions.

At the same time, Twitter’s advertising business has taken a major hit since Musk’s takeover. A number of high profile advertisers have pulled back from the platform, and revenue is down as much as 40 percent, according to reporting fromPlatformer.

The report also points out several instances when ads from prominent advertisers appeared adjacent to offensive and inflammatory posts from these users. For example, a Prime Video ad directly underneath a tweet from Andrew Anglin that states “the only career a woman is actually capable of on merit is prostitution.” The report also highlights an ad from the NFL, which appeared directly underneath a tweet misinformation about COVID-19 vaccines.

“This work confirms that Twitter has been displaying ads next to every one of the toxic accounts we have investigated, despite the fact that the individuals behind them are known to promote hateful views and falsehoods,” CCDH writes.

 

SpaceX has completed its first full static fire test for Starship, if not quite in a way that makes the first orbital test flight next month sound realistic. The company hoped to fire all 33 Raptor engines at once, but Elon Musk noted that two engines didn’t make it — the mission team shut off one before startup, while the other “stopped itself.” The 31 that did fire lasted the full duration, however, and Musk claims that’s enough to reach orbit.

While SpaceX’s last static fire testing in November was a success, the company only ignited 14 of the booster’s Raptor engines. It also to send Starship on multiple successful test flights before it can ferry astronauts to and from the Moon.

As company president Gwynne Shotwell said at the FAA’s annual Commercial Space Transportation conference, Starship has to fly “hundreds of flights before [it flies] people.” She also reminded everyone that Starship’s first flight “is really a test flight” and that “the real goal [for it] is to not blow up the launch pad.”

In mid-2022, SpaceX conducted a test that was designed to simultaneously spin up all 33 engines on the Super Heavy’s Booster 7 prototype. The company was aiming to preview the vehicle’s start-up sequence, but the booster caught fire during the process at its Boca Chica, Texas facility. SpaceX chief Elon Musk revealed on Twitter that the issue that caused the explosion was “specific to the engine spin start test,” because the Raptor engine has a complex start sequence. 

 

Elon Musk’s SpaceX may be willing to supply Ukraine with Starlink service as it repels the Russian invasion, but it’s not thrilled with every use of the satellite internet technology. Operating chief Gwynne Shotwell tells guests at a Federal Aviation Administration conference that SpaceX objects to reported uses of Starlink to control military drones. While the company doesn’t mind troops using satellite broadband for communication, it doesn’t mean for the platform to be used for “offensive purposes,” Shotwell says.

The executive adds that SpaceX can limit Ukraine’s ability to use Starlink with combat drones, and has already done so. The company hasn’t explained how it curbs use in the field.

Ukraine says it’s not alarmed. National security council secretary Oleksiy Danilov tells The Washington Post the country doesn’t rely solely on Starlink for military operations, and may only need to “change the means of attack” in some cases. Interior ministry advisor Anton Gerahchenko, meanwhile, argues that Ukraine “liberate[s]” rather than attacking, and that Starlink has saved “hundreds of thousands of lives.”

Starlink has proved important to life in Ukraine since the Russian invasion began last year. The country uses the service to connect civilians, government agencies and military units that can’t rely on terrestrial internet access. For drones, this could let Ukraine coordinate reconnaissance flights, long-distance targeting and bomb attacks.

SpaceX has a contentious relationship with Ukraine. The firm was quick to provide Starlink terminals soon after the war began, albeit with US government help. Musk complained that it was becoming too expensive to fund service indefinitely, but changed his mind soon after. And while Ukraine struck a deal in December to get thousands more terminals with EU assistance, that came just weeks after a steep price hike.

 

Amazon is moving forward with a live-action Spider-Man Noir series, according toVariety. It will reportedly focus on “an older, grizzled superhero in 1930s New York City” — one that isn’t Peter Parker.

Spider-Man Noir is an alternate version of the web-slinging hero, first seen in the 2009 Marvel comic series of the same name. The comic version was set in 1933, as a freshly bitten Spidey navigates New York City’s Depression-era criminal underworld. The character, who exists in a separate universe from the mainline Spider-Man stories, also appeared in the 2018 film Spider-Man: Into the Spider-Verse, voiced by Nicolas Cage. The report doesn’t mention whether Cage will be involved in the new project, but the actor has said he wasn’t asked to return for the upcoming animated sequel, Spider-Man: Across the Spider-Verse.

The as-yet-untitled series will be Amazon’s second project based on Sony-controlled Marvel superheroes after the upcoming Silk: Spider Society. Oren Uziel will write and executive-produce the show; Spider-Man: Into the Spider-Verse alumni Phil Lord, Christopher Miller and Amy Pascal share executive-producing credits.

Sony controls the film rights to Spider-Man and supporting characters like Venom, Carnage, Vulture, Black Cat and others. In addition, it works with Marvel Studios on the current MCU film franchise starring Tom Holland.

 

1Password is going all-in on passkeys starting this summer, as the company announced today that its users would soon have the option of using passwordless logins. The move follows Google’s and Apple’s passkey support starting last year.

Passkeys can replace passwords by providing unique digital keys stored locally on your device. They are much less susceptible to theft in the case of data breaches or phishing attempts and can integrate with your device’s biometric security — including fingerprints and facial logins. 1Password’s passkey support will be “built on the same security foundation” as secret keys, the long recovery codes platforms generate as a fallback sign-in option.

“All you’ll ever need to sign in to 1Password, unlock your vaults, and securely access your data is your one passkey,” the company said in a blog post. “More and more sites and services are adding passkey support every week, but whether you’re first in line to start using them, or you need to rely on passwords for a while longer, we’ve got you covered.”

“Unlike user-created passwords, passkeys are strong and unique by default. They’re generated and stored on your devices, and they’re never shared with our cloud service,” the company said. “Passkeys are also resistant to phishing, and they have a full 256 bits of entropy to prevent cracking — providing even more protection than our Secret Key. They’re safeguarded by biometrics and hardware-level security. And we’re building them to be portable between all your devices and platforms.”

 

Flipboard’s iOS and Android apps now include the notes feature that the company rolled out on the web in December. The update brings more social elements to the Flipboard mobile apps. The company says notes are a simple way to start conversations, share ideas and perhaps build micro communities around a shared interest or theme.

With notes, creators can add original content to shared magazines, such as commentary, images, links and video embeds. They have the option to mention other users in notes and comments to bring them into the fold. To start a note, tap on the create (i.e., pencil) icon in a magazine.

Flipboard suggests that notes really sing in group magazines, as the feature enables all contributors to add their perspectives and kick off conversations. Magazine owners and contributors will all get a notification when someone in the group adds a note or comment. Moreover, notes added to followed magazines may pop up in users’ For You feeds.

 

As promised, Meta has restored former president Donald Trump’s Facebook and Instagram accounts, two years after it suspended him from both platforms. The company previously said it would apply extra “guardrails” to his accounts to “deter repeat offenses.”

Meta, like Twitter and other services, kicked Trump off of its platforms in January 2021 after he praised those participating in the Capitol Hill insurrection. The company initially locked the accounts for 24 hours over two policy violations before it suspended him indefinitely. Meta’s Oversight Board was among those who criticized the handling of the ban. 

The company later said Trump’s accounts would remain suspended for two years, after which it would reassess things. In late January, it emerged that Trump would soon regain access to the platforms, not long after it was reported that he had pushed Meta to restore his accounts. 

By 2:30PM ET, Trump, who is running for the White House for a third time, had not posted anything on either platform. He has an agreement with his “free speech” app Truth Social, whereby he has to share social media posts there first and can’t plop them anywhere else for at least six hours. Twitter restored Trump’s account on its service late last year, but he hasn’t returned to what was once his favored social media platform either. Maybe he’s still too butthurt about that one thing Chrissy Teigen wrote about him.

 

Tesla’s Autopilot was not at fault in a 2021 crash in which two people died, according to the National Transportation Safety Board (NTSB). In a final report spotted by Ars Technica, the agency determined that the 2019 Model S accelerated just before hitting a tree in Spring, Texas, just north of Houston. Neither occupant was in the driver’s seat when they were found, leading to questions about the use of Autopilot.

Based on information provided by Tesla, the NTSB found (PDF) that the car’s rapid acceleration from 39MPH to 67MPH two seconds before the crash and a loss of control of the EV was likely due to “impairment from alcohol intoxication in combination with the effects of two sedating antihistamines, resulting in a roadway departure, tree impact and post-crash fire.” The NTSB says data indicated that Autopilot had not been employed “at any time during this ownership period of the vehicle.” Investigators did not find any “evidence of mechanical deficiencies” that could have contributed to or caused the crash.

One of the occupants was found in the front passenger seat, while the other was in the rear. It’s presumed that the driver was in the back seat because he was trying to escape. Security footage showed that the men were in the front seats as they set off, while data showed that both front seatbelts were buckled at the time of the crash — the car left the road around 550 feet from the driver’s home. The men died as a result of the collision and post-crash battery fire.